By Toby Skelton
There is an elephant in the room with Amie Marie’s mischievous comedy The Play About Theresa May: why publish a satire on May’s bungled and mayhemic term in government in 2021? When placed beside the burning wreckage of policies created by her etonian man-child of a successor, there is a risk of the text losing its relevance before you’ve even passed the cover. Marie navigates this hurdle gracefully, however; its name-sake target has been out of office nearly two years, but The Play About Theresa May is still an extremely timely exploration of political engagement in 21st Century Britain.
by Jack Brindelli
In the fallout of the Charlie Hebdo shootings, there are so many avenues of investigation that require a spectrum of analysis – and in due course the tragedy will no doubt be discussed from every angle, and in excruciating detail. Over the past week, there has been comparatively little debate on the idea supposedly central to the Parisian publication itself though – satire. In an age of seemingly perpetual outrage, offensive material is routinely accepted because it dresses in the clothes of ‘satire’. But in the wake of Charlie Hebdo, somebody needs to ask the question “what exactly is satire, and who should it serve?”